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ALEXANDRE DESPLAT

General Discussions » ALEXANDRE DESPLAT (Posts 1321 to 1350 of 2309)

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    • CommentAuthorMatt C
    • CommentTimeOct 30th 2010
    Erik Woods wrote
    so Desplat's minimal, less thematic, more atmospheric, more textured approach might be the RIGHT approach.


    How on earth is it minimal? There are certain moments where there's a soloist present (like "Harry and Ginny" and "The Exodus") with minimal backing, but for me the orchestra is almost always present and full-bodied. And the textures are wonderful, I haven't heard them used well since Doyle's 'Goblet of Fire' score.

    Now there are subtle motifs embedded within the score. It may take several listens, but there's several new ones for the Order of the Phoenix, the trio and the Death Eaters.
    http://unsungfilmscores.blogspot.com/ -- My film/TV/game score review blog
  2. Minimalism is an idea that so rarely truly applies to Desplat. When he wrote a cue for Nicole Kidman in BIRTH that consisted of a series of arpeggios for harp and celeste, or a timpani solo, that could be called minimalist. (But even the solo piano waltz in that film is far from minimalist - it's romantic as all get-out.) But apart from the odd score like that? Being a bit emotionally-reserved (something which he truly could be said to be) is not minimalism.
    A butterfly thinks therefore I am
    •  
      CommentAuthorErik Woods
    • CommentTimeOct 30th 2010
    Minimal was the wrong word use. I apologize. I was trying t find another work for simplicity.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  4. I didn't mean that as a rebuke - hope it didn't come across as one. smile I know what you're saying, but I think what it mostly comes down to is his music so rarely really... lets go. He doesn't operate at the level of emotion that John Williams does. It's less of a problem for me (although I haven't heard Potter), but I can see why people would come away thinking the music was all a bit calculated and clever.

    The really interesting question though, Erik, is whether there were any waltzes? wink
    A butterfly thinks therefore I am
    •  
      CommentAuthorErik Woods
    • CommentTimeOct 30th 2010
    I didn't take it as such, Michael... but after reading my post and then yours I realized that I used the wrong word. Simplistic is the wrong word as well.

    As for waltzes... I don't think I head one!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  6. franz_conrad wrote

    The really interesting question though, Erik, is whether there were any waltzes? wink


    There's some funny, tender music in several cues but no waltzes.
  7. yonythemoony wrote
    franz_conrad wrote

    The really interesting question though, Erik, is whether there were any waltzes? wink


    There's some funny, tender music in several cues but no waltzes.

    sad sad sad
  8. Kevin Scarlet wrote
    yonythemoony wrote
    franz_conrad wrote

    The really interesting question though, Erik, is whether there were any waltzes? wink


    There's some funny, tender music in several cues but no waltzes.

    sad sad sad


    Well. At least in this edition. It's 73 minutes long. Desplat wrote 100 minutes of music for the movie. And there's a wedding.
    •  
      CommentAuthorBregt
    • CommentTimeOct 31st 2010
    No waltzes is a no-go for me.

    As for minimalism, can then please someone explain exactly what it is? Is it a style? Or a way of using your orchestra? Or is that the same?
    Kazoo
  10. Minimalism is a musical movement, now style, which is about repeating short motifs (a few notes) in all chord progressions in rhythmic repetitions. Phillip Glass and his The Hours (and his classical music of course) is a notable example of a minimalist, along with Terry Riley and Steve Reich (and La Monte Young) he is regarded as the creator.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorBobdH
    • CommentTimeOct 31st 2010
    Michael Nyman as well, especially in his works for Peter Greenaway.
  12. He is also a scholar. He wrote a book on avant-garde movements (in the beginnings of minimalism, it was seen as avant-garde)
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorBregt
    • CommentTimeOct 31st 2010
    I know Glass and Nyman are some of the leaders in this movement, but the word 'minimalism' is often used for small, intimate music as well. So that is wrong? It's really about repeating patterns, but at the end of the track, it can sound completely different?
    Kazoo
    •  
      CommentAuthorBobdH
    • CommentTimeOct 31st 2010
    Yes. Minimalism can be performed by a large ensemble and can also be increadibly deafening to the ears.

    This is a good example:
    Michael Nyman - Memorial
  15. I would say that a score that is "minimal" could be sparse in terms of orchestration or structural progression and may or may not be an example of minimalism as described above.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorDemetris
    • CommentTimeOct 31st 2010
    Minimalism is making music using the least possible (in numbers) motifs, chord and arpeggios and by repeating them. It doesn't have to do with a small musical ensemble as minimalistic works can be performed from one or 2 instruments (for instance Max Richter) up to full orchestra and choir (Glass' kayanisqatsi).

    Wiki says
    The terms have expanded to encompass a movement in music which features repetition and iteration, as in the compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass, and John Adams. (See also Postminimalism).
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorErik Woods
    • CommentTimeOct 31st 2010
    FalkirkBairn wrote
    I would say that a score that is "minimal" could be sparse in terms of orchestration or structural progression and may or may not be an example of minimalism as described above.


    That's what I was getting at but that desciption above isn't fair to Desplat because he is so precise with his orchestrations. However, they come off as too polished. But when you use the word minimal in musical terms it usually refers to the use of minimalism which I wasn't getting at.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  18. Yeah, to be honest I would differ MINIMAL scoring (ensemble and/or film usage sparsity) and MINIMALISTIC/MINIMALIST.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorDemetris
    • CommentTimeOct 31st 2010
    PawelStroinski wrote
    Yeah, to be honest I would differ MINIMAL scoring (ensemble and/or film usage sparsity) and MINIMALISTIC/MINIMALIST.


    Which one would equal to what i described above?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorThor
    • CommentTimeOct 31st 2010
    PawelStroinski wrote
    Yeah, to be honest I would differ MINIMAL scoring (ensemble and/or film usage sparsity) and MINIMALISTIC/MINIMALIST.


    Yes, of course. They are two different things.
    I am extremely serious.
    •  
      CommentAuthorStavroula
    • CommentTimeOct 31st 2010
    "Abbey Road on a Friday night. Almost there with the score for Harry Potter and the Deathly Hallows – Part 1. Alexandre conducts the London Symphony Orchestra, is one with them, as they are with him. His energy and passion for the work is a joy to watch, and the music is beautiful.In fact, as we recorded one track the other day, Ron Returns, it so enchanted me, and everyone in the control room, I had to offer him the job of writing the music for part two on the spot after hearing it". David Yates.
    That says it all! wink
    Listening to it right now and I'm fascinated!
    Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better...
  22. Stavroula wrote
    "Abbey Road on a Friday night. Almost there with the score for Harry Potter and the Deathly Hallows – Part 1. Alexandre conducts the London Symphony Orchestra, is one with them, as they are with him. His energy and passion for the work is a joy to watch, and the music is beautiful.In fact, as we recorded one track the other day, Ron Returns, it so enchanted me, and everyone in the control room, I had to offer him the job of writing the music for part two on the spot after hearing it". David Yates.
    That says it all! wink
    Listening to it right now and I'm fascinated!


    I loved what he said. I'm hoping that Williams come back for Part 2. But I think that Desplat made a sound that fits in the end of the saga, and it's very faithful to the spirit of the book, that maybe could be wonderful if Desplat gets Part 2.

    I'll love to hear how he develop his themes and his sound for Part 1 for the final movie.

    I'll be happy if he uses his theme for the Lovegoods [spoiler]when Luna takes Harry to Ravenclaw's Common Room, and when she saves him from the Dementors in the Battle of Hogwarts[/spoiler]
    •  
      CommentAuthorErik Woods
    • CommentTimeOct 31st 2010
    yonythemoony wrote
    I loved what he said. I'm hoping that Williams come back for Part 2. But I think that Desplat made a sound that fits in the end of the saga, and it's very faithful to the spirit of the book, that maybe could be wonderful if Desplat gets Part 2.


    Here's the thing... the score has to be faithful to the FILM, not the book.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorStavroula
    • CommentTimeOct 31st 2010 edited
    Well Erik I think it depends. For me at least. I'm one of these people who cannot but bring the book in mind when listening to a music composed for a film based on a book. It's been this way with Harry Potter, The Lord of the Rings, Narnia, Painted Veil and so on. Of course being faithful to the film is utterly important too. But for the time being we just have to wait and see. smile
    In between I've just finished listening to the score and I'm really moved by it.
    Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better...
    •  
      CommentAuthorDemetris
    • CommentTimeOct 31st 2010
    Yeah, but regardless of our preferences and feelings, Erik's right; the score's written for the film and nothing else smile
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorStavroula
    • CommentTimeOct 31st 2010 edited
    I didn't disagree. smile I just said what counts for me. And that we have to wait and see how this particular score works in the film.
    Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better...
  27. Erik Woods wrote
    yonythemoony wrote
    I loved what he said. I'm hoping that Williams come back for Part 2. But I think that Desplat made a sound that fits in the end of the saga, and it's very faithful to the spirit of the book, that maybe could be wonderful if Desplat gets Part 2.


    Here's the thing... the score has to be faithful to the FILM, not the book.

    -Erik-


    Yes, the score has been written for the film. But, everybody is saying that Part 1 it's very faithful to the book, and the most faithful Harry Potter film since Chamber of Secrets.
  28. Whatever...as long as Desplat gets Part II, that's all I care about.
  29. Some reactions to POTTER. It's interesting. There are definitely repeated ideas, with development, but that's not the same as glorious themes, and I can see where Erik and Broxton are both coming from here.

    Some reactions:
    - For those who want more oomph with Desplat, I think this score finally delivers on that front. The action is a lot less scattered in its drive than New Moon's, and unlike Golden Compass, there's quite a bit of action too. Overall, the energy of his compositions remain one of his main strengths, whether it be the lighter allegros or the aggressive ones.
    - His orchestrations remain a strong point. Some nice allusions to old & new Williams via Tchaikovsky and Stravinsky. Moment-by-moment, he really is working to find ways to keep it interesting. Possibly the most interesting connective underscore of any composer working at the moment? (To be honest, none of it feels like connective underscore, and when I think of what Howard Shore or James Newton Howard would write for those scenes where nothing big is happening, I do think we're pretty lucky to have this guy working in film. It's a different emphasis.)
    - It is one of the less rewarding Desplat scores from the melodic viewpoint. It's teaming with little melodies (many variations of others and only appearing once in that variation), and action melodies, and emotional moments, but it somehow isn't punching through in this form. You just want one big long-lined melody that somehow all the little ones are derived from, and you want that long line melody to somehow tie in with one of Williams' ideas in a big way. MY THEORY: There were 2 gorgeous waltz themes running through the score that somehow connected everything, but Desplat heard Erik Woods wouldn't like it, and just wrote out theme in the album mixing. wink ) Seriously though, a little disappointing from the author of the Magorium, Chanel, Cheri themes.
    - I'm surprised there's not more Willliams references in it. Maybe Yates vetoed it, or maybe Desplat just didn't want to go there? Or maybe there's less on the album to save paying royalties?

    I'm glad I heard this. It's such a step up from Hooper's first score (I never heard the second), and like Doyle's, it's definitely worth hearing a new voice in the Potter landscape. I think Williams still has the trophy firmly in hand for AZKABAN though. (Not keen on the first two scores apart from their themes here.)
    A butterfly thinks therefore I am
    •  
      CommentAuthorThor
    • CommentTimeNov 1st 2010
    Does it have any thematic "showpieces" or centerpieces, like "Harry in Winter", "Fawkes theme", "Window to the Past" etc.?
    I am extremely serious.

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